Mike
Forum Replies Created
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Man do I hate fields, but sometimes there’s just no getting around them. Take your clip and separate fields depending on your capture hardware (it’s probably lower). Then drag that clip into a 59.94 comp setting. If you step through your comp a frame at a time, you will actually be able to look at each distinct field (lower-upper-lower-upper, etc) which is the only way to properly roto an interlaced video clip. Unfortunately this means you will need to roto 60 times for every second of video you have, compared to 24 times if you were working on footage that originated on film. When you’re all set, drag the 59.94 comp into a 29.97 comp and render with the codec and field order specific to your capture card. Good luck!
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Man do I hate fields, but sometimes there’s just no getting around them. Take your clip and separate fields depending on your capture hardware (it’s probably lower). Then drag that clip into a 59.94 comp setting. If you step through your comp a frame at a time, you will actually be able to look at each distinct field (lower-upper-lower-upper, etc) which is the only way to properly roto an interlaced video clip. Unfortunately this means you will need to roto 60 times for every second of video you have, compared to 24 times if you were working on footage that originated on film. When you’re all set, drag the 59.94 comp into a 29.97 comp and render with the codec and field order specific to your capture card. Good luck!
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If you have AE 6.5 Pro you can probably get pretty close with CC Mr. Mercury. Using a solid color and playing with lighting a bit can give you a “paint texture”. Play around with the settings and adjust the keyframes of your birth rate until you have a convincing splash. It won’t be as realistic as 3D, but it will definitely get you pretty close. Good luck!
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Dan and Colin – thanks so much! I will give it a try.
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Dan and Colin – thanks so much! I will give it a try.
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I need to go back out to 29.97 though. If I precomp at 59.94 and then comp at 25, what’s the best way to go back out 29.97? Should I just drop my 25 comp into a 29.97 comp and render?
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I’m assuming it wasn’t sped up to 24 and then telecined because none of my pulldown removal options provide me with a solid frame. I’m getting a lot of interlacing and frame blending no matter what cadence I use. What might be another process they used in converting this footage from PAL to NTSC?
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Thanks Jeremy! That was it.
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Thanks so much for all the feedback. I’ll let you know how it goes!
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Jason-
Thank you so much for your incredidly detailed explanation. It’s true that it was not necessarily what I wanted to hear, but I really appreciate all of the information you provided. It seems bizzare that final cut needs to hold file permissions the way it does. Does anyone at apple know this is a huge inconvenience? And needing to relink clips with the same name and duration borders on absurd to me. It makes me feel better to know you’ve had some relief in FCP 5, but regardless this seems way too sensitive a feature for people that make frequent changes to clips where almost all parameters stay the same. In an attended 8 hour edit day, I can sometimes make anywhere from 50-75 re-renders from after effects and constant re-linking is a huge slow down to the process. Moving from Premiere to Final Cut was supposed to improve our workflow, but this is one way where it is really slowing me down. Again, thanks very much for your input – your response was extremely helpful.
– Mike